Despite a revered career as artist (his 1972 solo debut
Dixie Fried, which remains a collector’s treasure), session player (Aretha Franklin’s
Spirit in the Dark, the Stones’ “Wild Horses”) and producer (Big Star’s
Third, The Replacements’
Pleased to Meet Me), the late Jim Dickinson’s proudest project was his offspring, Luther and Cody — who even as kids embodied Memphis’ musical heritage as royally as the Marsalis progeny did New Orleans’, but wore the mantle a lot more loosely. Before he joined the likes of Sputnik Monroe and Dewey Phillips in the Bluff City’s Valhalla for fallen heroes, Dickinson handed down to his boys a wild and woolly storehouse of centuries-old Americana, from medicine-show spiels to spirituals, and they’ve honored and extended it from the day they plugged in and picked up sticks. Last year’s
Keys to the Kingdom was a primordial swirl of choogling blues, guitar boogie and Deep South shuffle, the Memphis equivalent of a second-line funeral march; if Luther’s time in The Black Crowes has only honed his edge as a guitarist, he’s still at his best playing off the rattle and snap of his brother’s drums, augmented by Chris Chew’s snaky bass. Electric bluesman Lightnin’ Malcolm opens, featuring Junior Kimbrough’s grandson Cameron on drums.
— Jim Ridley